FIRST LOOK: The Next Film by Award-Winning Filmmaker Robert Aaron Mitchell

 Robert Aaron Mitchell deep in South Texas filming a rattlesnake for his next film. (Do not attempt this at home) 

"I am making something vastly different than The Bobby Diamonds Story) I am an American living during this time in America. I have a lot of rage inside because of the fascism this country has become. As I say this another mass shooting has taken place. This time in Minneapolis. Year after year after year these tragedies occur and nothing positive has been done. Gun laws have gotten more lax as time goes on. This country is entering a period of severe instability. The civil war never truly ended. It has remained as embers of hate all these years later. We are entering another period of civil war. While this film I am currently mired in does not directly address these issues the film is serving as a primal scream and it would be naive to think my environment is not playing a role in my artistic endeavors. At the end of the day during the production and post-production phases on my new work I am striving to make a scary fucking movie." 

 Here is a first look teaser trailer:

Robert Aaron Mitchell Joins TALES OF ZONE 7 (An Oral History of the Making of Cherry 2000) as a Co-Producer

 

I have joined the feature length documentary Tales of Zone 7 (An Oral History of the Making of Cherry 2000) as a co-producer. This making of documentary will be featured on the 4K release of Cherry 2000 which was written and directed by Steve De Jarnatt who also wrote and directed Miracle Mile. 

Cherry 2000 is a cult movie from 1987. It stars Melanie Griffith who plays E. Johnson who is a tracker hired by a businessman Sam Treadwell (David Andrews) to replace his android wife - the titular character Cherry 2000 (Pamela Gidley) who has shorted out. 

Johnson and Treadwell wind up in the wasteland and wander into Zone 7 which is a lawless and dangerous place currently under the tyrannical rule of Lester (Tim Thomerson). What does it mean to love? What does it mean to be human? 

                                      Robert Aaron Mitchell with director Steve De Jarnatt

 There is still time left to join the campaign. There are lots of different options available to contribute to the finishing of this making of documentary and other supplemental materials. Click here.

 

JOHN BOORMAN: CONCLUSIONS. Some Thoughts Upon Reading

                                Mike Lane, Sarah Mitchell, John Boorman & Robert Mitchell
                                         The Lilly Library Indiana University Oct. 27th, 2016

 “In old age, words escape me. If I wait patiently, they float up, and I recapture them. If that fails, I am obligated to go down to the cellar, where they languish, and drag them back up. I note that water is starting into the cellar. I fear that some words will drown and be lost for ever. The quest for harmony of word and image has been my life. Sight loss is making the world look like Turners. While I still can, I hasten to testify.” John Boorman

One begins to read a book on John Boorman to further gain insight into the thoughts of a unique filmmaker who directed films such as Zardoz, Point Blank, Excalibur, Deliverance. To this end the book will satisfy those looking for further insight and kernels of more film knowledge. Such as Lee Marvin agreed to make Point Blank on the condition that they throw out the existing script and start anew. As well as how it was David Lean who unknowingly saved Point Blank and Mr. Boorman's first American feature film from being stopped before production was set to begin.

The book begins with the heading TYPEWRITER and Mr. Boorman writes of his teacher and mentor John Maquire who encouraged the sixteen year old to pursue becoming a writer. John's mother then bought him a used typewriter. "where I sat every night tapping away with two fingers, a bottle of Tipp-Ex at hand" He would go on to have some success publishing some short stories. This yearning for story telling would soon find another way of expression and become the major driving pursuit of John Boorman's life.

In the opening pages we read about when John begin to make movies on Super 8 with his school friend Barry Vince."This was our fantasy. Film-making was a distant dream and occupied by people who went to Oxford." These pages took me back to my high school days and making films with my friend John Harvey and our VHS cameras. Running around our hometown as gangsters and suffering artists. Our movies were first inspired by John Woo, Martin Scorsese and Quentin Tarantino. As we continued our films became more personal and more art-house with our love for grindhouse still embedded in our short films.

A notable early passage where Mr. Boorman speaks about beginning to make the film The Emerald Forrest and living with indigenous people of the Xingu region of the Amazon rain forrest and how the tribe sees themselves as part of the greater whole rather than seperate beings and how our fixation on individuality can be alienating. As I reading through these particular pages I was thinking of the current moment of time we are all sharing amidst the spread of COVID-19. Of the need to collectively wear masks in public that do not necessarily protect us but to protect the other people we will come into contact with. Mr. Boorman takes this philosophy and applies it to making a film. "However clear your vision , you cannot make a movie on your own. You need a tribe. As a director you struggle to communicate to the cast and crew the essential nature of the film you are making. If things go well , there comes a magical moment when they 'get' what you are trying to achieve. From that moment, the film makes itself.' I was thinking of how the film-making process will be altered as time moves forward in the new era of the cornavirus Another exceptionally strong section for me personally was when Mr. Boorman takes us through his personal film school. Sections on writing, rehearsals with actors, another section on shot selection which will be a section I revisit often.

As I read Conclusions there were many times I had the feeling as though I was sitting by a fireplace in Wicklow Hills, Ireland across from Mr. Boorman as we spent an evening drinking scotch as I listened to his stories of film-making, life and friendships and family as well as his affinity for water and trees. As I was nearing the end of the book it really felt as though I was privy to a very private and intimate conversation with a person who is very much more than the films that brought me to this book. Mr. Boorman is clearly preparing for the end of a life lived. He has outlived many of his film-making contemporaries as well as losing friends and family. His words convey a sense of peace as well as preparing for death. He is still very much driven by imagination and curiosity of our shared existence and the planet we currently call home. As I read the last words of Conclusions there is a hint of regret in Mr. Boorman's words that so much of his time was spent in the pursuit of making films. Ultimately it is the life we have lived which is of utmost importance. Life is about the friends and family the precede us to the other side and the friends and family we leave behind. May our stories live well after us.

BASKIN: Pushing Boundries Interview with Director Can Evernol Interview [From The Archives 09/07/15]

 Actor Görkem Kasal speaking with Robert Aaron Mitchell at the premiere of Baskin

Although Baskin marks Can Evrenol's first feature film he has been behind the camera for many years. He has made several short films including To My Mother and Father (2010) which won The H.P. Lovecraft Film Festival Special Jury Award for Most Disturbing Film. In 2013 he wrote and directed the short Baskin which was the genesis for the feature length movie. As well as the controversial Don't Text PSA The Pencil. I recently had the opportunity to speak with Can. -- Robert A. Mitchell

You have said that the idea of Baskin came from Cthulhu are you at liberty to elaborate upon that answer?

I'm like Eric Zahn. Ideas come to me while I sit by my window at Rue d'Auseil
 
You have made several short films, and have a successful commercial career. How steep was the learning curve as you took Baskin from the short film into a feature? Could you share some insight into what you have learned?

It's like almost two different valuable schools for the short films and the commercial work. My short films were where I experimented with every aspect of filmmaking on it's most basic form. Production, scheduling, editing, pasting, sound design, foley, you name it... I was on my own with everything, but I was good at finding a couple amazing friends to collaborate on each project. With each short film I was setting a bigger task for myself, slowly increasing the scale of things. It was more like a hobby or a game to me. On my 5th short film, To My Mother and Father, my producers James & Russ (Neer Do Well) + prod designer Sara Sensoy + D.O.P. Stephen Murphy have set up this amazing guerrilla set in the storage room of in a secret Central London location.

It looked and felt like an actual film set! It was one of the best weekends I ever had in my life. At some point in our 2nd day of shoot, looking at the beautiful blue set lights in awe, I suddenly had this very happy and confident feeling that if can run this set, then I could very well run a music video or commercial video set too. There I decided I would be a film director for the rest of my life. Being a commercial filmmaker, I later found out, is more about human relations, and practicality. (Of course I can only speak for the industry in Istanbul, which is big, but lately too formulaic) Mostly I was the most inexperienced person on the commercial sets. Yet everybody had to treat me with respect.

Every Day 1 morning was a test for me to gain the trust of the set. I just treated everyone as I would treat my friends in my short films. And luckily, nearly all my sets were very fun. It was like being a systems manager, as Seth Brundle puts it. You have a team of artists and crafts people who are better at their job than you are; and you manage to collaborate them into a single goal which you shape in your head. It was through 3 years of TV commercials, I met with many people on sets, and built up a like-minded and very talented crew to shoot my first feature film. It was the best formula. Indy attitude, with a commercial discipline.


Baskin has the distinction of being the first film from Turkey in the 27 years of the Midnight Madness program. Can you talk about the current state of film making in the country? Censorship seems to be a major issue, has this affected your film making in Turkey?

If you watch First Blood on Turkish TV today, -even in pay per view- when Rambo stitches his own arm, the wound will be pixelated. If you're watching True Detective, the beer bottles and cigarettes will be blurred. It's out right Orwellian, North Korea style bonkers. Unfortunately it has been a slow but sure decline in the freedom speech in Turkish media, which I fully witnessed.

When I was 7, it was a single government channel in late 80's Turkey. It was a bit fascist, but also liberal. Every Sunday morning it was 2 hours of classical Western orchestra. Unthinkable today. The whole nation had only one option to watch and it was 2 hours of classical Western orchestra. It has become a kind of joke really. And it was a good example of how out of touch with the general public, yet intellectual the authorities were at the time. With the Gulf War, suddenly we had private TV and cable. Everything was colorful with the arrival of Transformers, GI Joe, MTV, Eurosport, and crazy game shows. It was an era where TV and entertainment industry went crazy. No foundation, but tons of Western stuff to copy from. The result was pure craziness.

Soon after, when I was 10, we had Playboy TV, Tutti-Frutti (Italian Striptease game show), Batman, The Fly, Tremors and all the box office movies uncut and all kinds of other good and bad craziness on prime time TV. There was no regulations. We had these crazy domestic crime shows (eg. Sicagi Sicagina) where a news crew would enter a crime scene before the police and put a microphone on a crying kid's face whose father has just been murdered by knife. So things got ugly and degenerated extremely quickly. It was a premature pop culture. And soon after, following a huge economic crisis, the religious conservative party took over and day by day things started to get censored. I stopped watching films on TV a long time ago. Nowadays my wife and I don't even watch TV at home. Only dvd, bluray or YouTube.

Censorship in Turkish cinema is much better for now, although cinema culture in this country completely changed in the last decade. Ultra shallow and ultra popular native TV shows completeşy took over. The only box office hits are silly comedies, religious exploitation so-called-horror films, and other shallow garbage.

There is a huge gap between a handful of very talented filmmakers whose slow paste Tarkovsky-influenced films get negligible distribution (but get significant recognition at top international film festivals) and the garbage at the box office. I am extremely curious about how Baskin will be received by Turkish audiences. We are at the brink of war with Syria. Just last night 60 soldiers were killed in a terrorist attack. Traumatizing. It will be a coincide of real life horrors and fantasy, when Baskin gets a cinematic release in Turkey in 2 months.
 
You are no stranger to pushing the boundaries as your 2012 Fright Fest Don't Text PSA The Pencil can attest to. How important is it for an artist to push boundaries. What is like to encounter the firestorm of criticism that can accompany pushing the envelope?

What's the point if you don't push any boundaries? I hope I can always afford to just close my ears to that type of criticism, and go about my own work. When The Pencil played at Empire Cinema at Leicester Square, right before Film 4 Fright Fest's midnight screening of Maniac, the 1200+ audience had such a strong positive reaction that I couldn't believe my ears. Even when it was over and opening credits of Maniac began, the laughing and giggling in the audience has still not died out. I am shocked that with all the communication and social media and the horrors of war and life is ominous, people still can get shocked with films like Human Centipede and Pencil. I honestly don't get that.
 
Baskin is already being described as a visceral cinematic horror experience on par with a film like Martyrs. How do you feel about the comparison? What cinematic experience awaits the Midnight Madness audience?

I would say it's more like a glimpse of Frontiers, than Martyrs. I wanted to make a film that begins like a modern low-budget Turkish/European art-house festival film, which then slowly becomes a dark and cold urban fairy tale. I hope enough people dig it. It's a slow burner. It's best if you watch it without knowing anything about it.



Originally Appeared 9/7/15 Midnight Madness Blog

THE FINAL GIRLS: Director Todd Strauss-Schulson Interview [From The Archives 09/09/15]

The Final Girls is set to close the 2015 Midnight Madness program. The film is full on rollercoaster ride. Full of laughter, chills, thrills nostalgia. The film that Todd Strauss-Schulson directed is a perfect way to close out the midnight screenings at our beloved Ryerson Theater. I recently had the opportunity to talk to Todd about making the film. -- Robert A. Mitchell

             Malin Åkerman talking to Robert Mitchell at the premiere of The Final Girls

When you first read the screenplay written by M.A. Fortin and Joshua John Miller what attracted you to the story and made you say I want to direct this movie?

It touched me. I was immediately stuck by the heart and how full of feeling it was. To me it was always a movie about a girl who got a second chance to be with her dead mother. To see her again, to have one more day…

A few weeks before I made my first movie my Dad died. He was my best friend, and he was so supportive of my filmmaking, and he died, he missed me booking that job by a matter of weeks. So that was difficult. And while I was working on my first movie, I would dream about him all the time. I still do. Happy dreams where were riding around on a bus through New York, or eating pizza and strolling around the lower east side… my father would visit me in my dreams… and that is what Final Girls is to me. That is what I saw in the script. The reverbs of grief and that wish to get another day. And Max (Taissa Farmiga) gets this second chance to see her Mom in this 80’s horror movie… which we made feel almost like a dream. It’s consciously hyper real and ethereally beautiful. And really, the idea of the horror movie was very much consciously linked to the emotional concept… I loved the clever idea of a story about the emotional aftermath of a death in the middle of a genre that doesn’t take death very seriously… in fact a genre where big bigger the body count the more fun… so we’re USING genre to tell that emotional story… not the other way around.

The secondary thing that really attracted me was, as a movie lover… and I LOVE movies … the big fun conceit of getting stuck IN A MOVIE. That’s just a delightful idea. And the opportunity to deconstruct a movie, to almost turn the movie into an antagonist. It lent itself to a lot of visual playfulness and stylistic flamboyance and comedy. And I really felt this could give me an opportunity to flex some of those cinematic muscles in a way that was integrated with story. I really love when a film can perform WITH the actors, its not just a capture medium... it’s a performance medium too. And Final Girls really lent itself to that kind of filmmaking.

So, tons of heart, a very personal story, and this really fun cool container was what appealed to me… its almost like All That Jazz, a personal story about death and humanity in the body of a delightful musical full of pizzaz and showmanship. I loved that tonal mash up.

Final Girls blends horror and comedy. Was it difficult to strike a balance between these two elements?

I look for movies where the telling of the story is as integral as the story itself. People have been saying to me for years that Final Girls has a tough tone to pull of... but I just never saw it that way... I think if you're doing your job, and telling your story, and telling it in your own voice, you can kinda go anywhere and do anything. The movies that I love the most are the ones that are tonally all over the place. And that's true to life...  The best stories a friend can tell are the ones that start off where a happy thing happened, and then a horrible thing happened; then this person saw someone get their purse stolen, but then you ate a delicious scone at a new coffee shop and saw an old family friend out of the blue who is really beautiful... but then they told you their cat has diabetes...and then you wonder if dating them is gonna be too intense cause you're gonna have to deal with that cat all the time so you get anxiety... It's what any random day in your life is like, it's tonally and emotionally all over the place. Its funny, its sad, its scary, its beautiful, its lonely.

I remember being a kid and my mom took me to see Spalding Grey do a live monologue at Lincoln Center, and he talked for three hours. Just sat and talked on an empty stage and it was as riveting as any movie. He did the craziest tonal shifts, I felt every emotion, I went with it, I was connected, because he was so sure and steady about what he was saying and how he was saying it, he would go fast, then slow, he would go on a weird tangent that seemed to meander, then race back to the point...it all held together. One of the reasons why Final Girls is so flamboyantly visually stylish, the colors, the set design...and what the camera is doing... it's not subtle,  But a lot of that is in service to hold these disparate tones together, the horror, comedy, heart, magic, weirdness... To feel that strong hand of a storyteller, to have the specific cadence to the storytelling, of me telling the story and pushing you ahead. It's what my favorite movies do: What Kill Bill does, what Magnolia does, what One From The Heart, Hudsucker Proxy, and Obsession do.

This film features a large ensemble cast, what was the casting process like?

I really wanted to be able to feel the TONE of the movie in the casting The tone is wild, it’s a comedy, its scary, its cool, it’s a melodrama… and I wanted you to feel that when you looked at the ensemble. So you have Adam and Thomas and Alia and Angela who are bringing a lot of the comedy, you know them from comedy. But then you also have at the center Taissa who is such a wonderful and grounded actor. She has such fragility, such a grounded and raw emotion… and she tethers the movie. And then you pair her with Malin who is a terrific actor. She’s really able to do the comedy, but she also has this incredible depth of emotion. I loved her in Happythankyoumoreplease.

It was about putting together a group of young and talented actors who could all be friends. Who I wanted to go to camp with. and they would be campers and I was head counselor. And they all ended up almost perfectly falling into their dynamics as we were shooting, we became a family out there. It was the best experience ever.

You and your team were shooting as many as fifty shots in a day. How did you keep up the focus and energy of the cast, crew and yourself?

I think enthusiasm is the key. Being a fan. Of other people and also of your own ideas. Especially if you’re trying to do something special or different you kinda have to convince a lot of people that these things you want to do are gonna be great!

Ambition is my favorite quality in a movie, I really hate when a movie isn’t trying to do anything new or special. And I think people can feel that. I think people galvanize around that kinda enthusiasm and ambition. It’s exciting to be working on a movie that is trying to be disruptive and do something new… tonally or visually.

I always love when I'll meet a person and when I’m around them I feel so interesting, so smart, so funny, they somehow bring out the best in me. They are interested, and kind, and able to make me feel instantly comfortable… I try to be that for other people. I want to bring out the best in everyone around me and make it feel the way it felt for me when I was 14 making movies in my living room with my sister. There is a cool Lorne Michaels idea that has been coursing through SNL for years that the sketches are really designed to let the hosts “score”. I love that. That you are really creating opportunities for the people around you to score. When I read the script I thought I could score with this movie. I thought my dp Elie could score, I thought Katie Byron our intrepid production designer could score… Taissa and Malin could score in their goodbye scenes, Nina on that dock has this big moment to score… Greg our composer gets to play around with this crazy music and score… I just loved giving these amazingly talented people around me these big challenging things to pull off so that they could score. I think that is an infectious vibe on set and it gets people to give you their best.

…also shotlists…

Final Girls is roller coaster ride and really taps into the joy of movies. What does cinema mean to you? What cinematic experience awaits the Midnight Madness audiences?

Final Girls is the kinda movie I personally love. Its ALL the feelings. ALL OF THEM. You’ll laugh, you’ll cry, you’ll get scared, you’ll feel nostalgic, you’ll be dazzled by how pretty it is, how weird it is,  it’s fucking BADASS, you’ll cheer, you’ll yell at the screen, you’ll see things in this movie you haven’t seen before… it’s the full range of human emotion!!!

I think you should walk out of a movie feeling better than you did going in. I think we go to movies looking for a human experience, and I think you want to laugh and cry and in some kinda subconscious way, touch that tender part of you that gets cemented up throughout the day with irony and anxiety and sarcasm and fear and just endless thinking… I think what a movie can do almost better than anything else is connect you back to yourself,  to make you feel a little more connected and empathetic. I think if they are working, movies can be an antidote to the rest of your life. I think that's what they're capable of… I don’t go to movies to “escape” my life, I go to reconnect to it.

Originally Appeared 9/9/15 Midnight Madness Blog

FROM PAPER TO REALIZATION. ADVICE ON MAKING A FILM

For the past several months I have been writing diligently. I have written a couple of short films and and slowly climbing the mountain of writing a couple of longer feature length films. I'm getting to the point of getting out in the world and trying to turn some of the short films into reality. Speaking of reality, the situation is such that I will be pretty much doing this all on my own, in a new town, in Southern Indiana. It's daunting to sit at a desk and try and piece together what to do first. Writing out the budget? Casting? Location scouting? Permits? Equipment rentals? I have the good fortune to work around some film festivals for several years and have met a lot of up and coming filmmakers as well as some established people in the film industry. I decided to contact some friends and ask them for some advice on making a film.

"DON'T FIGHT REALITY -- Unless you have the money too -- Adjust your shots to the locations, adjust your dialog to the actor's ability, adjust your approach to what is working in the moment, rather than trying to force something that just isn't happening short films might give you more leeway to explore though.  But on a low budget feature, making those adjustments can keep you on track. Hire a great composer and cinematographer Also, HAVE FUN"— TRAVIS STEVENS Producer A HORRIBLE WAY TO DIE, CHEAP THRILLS, AMERICAN MUSCLE 

"I've had the opportunity to shoot some pictures in places like Akron, Ohio, which is similar to the Southern Indiana area and it was always a pleasant experience despite lack of proper rental houses or inexperienced crew because I always got great locations and total cooperation. People there haven't been ruined by film production yet, so really all you have to do is ask nicely and don't act like Joe Hollywood and I think that you'll find that folks can be very accommodating and helpful. Some things may be a bit more difficult than shooting with a bunch of experienced crew members in a city, but you can easily make up for it with great locations and freedom." TRENT HAAGA Writer DEADGIRL, Co-Writer CHEAP THRILLS

"I don’t know what your budget is but use it wisely. Every dollar is important and belongs on the screen to make it a bigger and better movie. When directing or producing a film you owe a professional obligation to your investors, your crew and mainly your Film to make sure not one penny is lost because of greed or incompetency.

Prep, prep and more prep. Prep is king! Be totally prepared so you are not prepping when in production and rolling cameras. That's how you waste money and eat up your filming time doing something that should have been done before you started shooting and everyone is on the clock. So know every shot you're going to need at the end of pre-production. Then the crew will know your shots also and they can stay ahead of you. It makes it an enjoyable shoot also for you and everyone.

Be a leader!!!  Go kick butt! Let's truly love the passion of film making and always prep like there is no tomorrow, Ha! Prep is the secret to a successful shoot. Always here for you!" AARON NORRIS Producer WALKER, TEXAS RANGER Director DELTA FORCE 2, BRADDOCK MISSING IN ACTION III

"Get lots of coverage - shoot until they won't let you - don't shoot the same shot twice unless it was fucked  - and most of all have fun!"DOUG AARNIOKOSKI Director of THE DAY, NURSE 3D

"No two directors are alike but all the best ones trust their vision. Try and communicate it as clearly as you can to cast to heads of dept and cast. Half the job is getting everyone on the same page. Then, once they're on the same page, let everyone have their say. Some suggestions will be better than what you had in mind. If that's the case put your ego aside and take the advice.

Your job is to make the best possible film and if a pearl of wisdom comes from the guy putting in the portable toilet then don't hesitate. You're a team. Conversely, if someone offers a suggestion that's off track then have the knowledge to respectfully tell them why. It's your job to answer the thousands of questions that will be coming your way from the color of a character's socks to the size of each shot to whether you're on a wide or long lens etc. You have to know/understand the film better than anyone else.

Think of it like a watch you intricately know the mechanics of. But you also have to be able to step back and allow yourself to be the audience. You're the one with the vision in your head so ultimately you're the only one who can definitely say whether the shot, scene etc is working or not. And be nice to crew. They're working their ass off for you! Good luck!" SEAN BYRNE director of THE LOVED ONES  

"That is great that you are making a movie. My advice is work with the resources that you have, be sincere and try to tell a good story. I wish the best of success for you." JAMES NGUYEN Director of BIRDEMIC

An Introduction

Writing about yourself is quite an art form in and of itself. It borders on the narcissistic and conjures up images of the guy nursing a cocktail at the party that is desperately vying for attention.  However I believe a few words are in order.

My name is Robert Mitchell and I am based out of Toronto, Canada. I have tried to fit what I do unto a business card usually with not much luck. I'm a videographer, an interviewer, a writer, on and on. However during the Toronto International Film Festival in 2009, I had the honor to capture the Bad Lieutenant: Port of Call New Orleans Q&A for Colin Geddes with Werner Herzog. This is where I first heard the term, soldier of cinema. Suffice to say I thought it was an amazing phrase. I'm not the only one, I hear the phrase mentioned at festivals, during any kind of cinematic adventure, like the recent 16mm print rescue from the Toronto Reference Library etc.

A lot of what I do and deem important does not involve me making much if any money. Comes at a great personal sacrifice and relies on great passion and determination. Hence, the reason I have co-opted the term soldier of cinema and the reason why this blog is so named.

What is the blog? Good question. The idea first arrived to me when I uploaded a recent interview I did with the actor William Forsythe. One of my personal favorites - as it involved us talking about the great Sergio Leone. I loved the interview but the sound was horrible. The crowd from the convention center drowned out our conversation and the video looked like a happy actor reminiscing and an excited yet tired interviewer going through a pantomime. I then thought all is not lost I can transcribe it and still find a place for this interview. The question then became, where? I have a website but know nothing about design and code and have not the money or time to make this a priority. Long story short, it has not been updated in quite some time. This lead to the creation of this blog.

At the moment, like most things in my life, there is no road map, no grand scheme so what will show up here is as much your guess as it is mine. I can however say with a great degree of certainty that you will see an interview with William Forsythe in the not so distant future.

Here it is, just what the world needs, another blog. I take my leave, as I have to look in the mirror and freshen up my drink.